architectural appraisal of ho tung gardensarchitectural appraisal of ho tung gardens (fig. 2.1) by...

Architectural Appraisal of Ho Tung Gardens


Lee Ho Yin, Lynne D. DiStefano and Curry C. K. Tse

10 October 2011


Table of Contents

1.0 Introduction 1

2.0 Architectural Significance of the Mansion of Ho Tung Gardens 3

2.1 Guiding Principle and Methodology 3

2.2 Chronological Development of the Mansion 4

2.3 Clarification on the Aesthetic Character of the Mansion: Origins and Definition

of "Chinese Renaissance Architecture" 5

2.4 Socio-political Significance of the Architecture at the National Level 9

2.5 Impact of the Socio-political Significance of the Architecture on Chinese

Communities outside China 14

2.6 Significance of the Mansion to the Hong Kong Community 20

3.0 Additions and Alterations to the Mansion 22

3.1 Introduction 22

3.2 Additions and Alterations 23

3.3 Conclusion 28

4.0 Ho Tung Gardens: Significance of the Gardens 29

4.1 Introduction 29

4.2 Description 29

4.3 The Garden Areas 30

4.4 The Views 32

5.0 Garden Character-defining Elements (CDEs) 34

5.1 Introduction 34

5.2 Location of Character-defining Elements 1 to 22 on a Map 35

5.3 Location of Character-defining Elements 1 to 22 in a 2009 Aerial Photograph 36

5.4 Location of Character-defining Elements 1 to 22 in a 1963 Aerial Photograph 37

5.5 Character-defining Elements 1 to 22 38


6.0 Appraisal of the Significance of the Mansion and Gardens 64

6.1 Appraisal of the Significance of the Mansion 64

6.2 Appraisal of the Significance of the Garden 67

6.3 Appraisal of the Significance of Ho Tung Gardens as a Whole 69

7.0 References 70

- END -


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1.0 Introduction

Ho Tung Gardens is a complex consisting of a mansion and its associated gardens and

outbuildings, and its southern prospects. To focus on any one component undermines

the significance of the place as a whole. Nonetheless, to understand the place and its

significance, it is important to understand its individual components, which together

create a whole greater than its constituent parts – a whole that can best be described as a

continuing cultural landscape.

The mansion is set within distinctive gardens, and the gardens themselves are an

integral part of the place. They are more than an element; they are a major component

of the place and inseparable from the mansion and its carefully “staged” scenic

viewpoints. Focusing on the mansion alone, rather than the mansion within its garden

setting, negates the original design intent: the creation of a mansion within a garden

setting, a mansion that is carefully positioned to exploit dramatic views to the south.

The views from the mansion and its terraces are a key factor in the siting and

landscaping of the house and its grounds. Although such viewpoints are not currently

accessible to the general public, they offer some of the best framed views of the

southern part of Hong Kong Island. The containment of the views by nearby and

mid-distance hills enhances the viewing – and intensifies the sublimity of the

experience, creating a distinctive spirit of place that is perhaps unique.

An important aspect of the mansion and the gardens that has to be considered is the

degree of change that has taken place. Since the property is a living cultural landscape,

changes, particularly to the interior of the mansion, have understandably occurred, and

these changes may not necessarily undermine its heritage significance. In fact, some

changes may even add to the significance of the place.

A good example of a heritage place where changes have added to its significance is the

Hong Kong Government House, a Japanese-designed residential building surrounded by

a lush garden, which has undergone varying degrees of change to its interior through

successive Colonial Governors and SAR Chief Executives. Little of its interior is

original, but the changes have added to its accumulated layers of history. The same

applies to the garden as a number of feng shui elements have been added in recent times.

These changes to the mansion and garden have only added to the rich history of the

place – and reinforced its designation as a continuing cultural landscape.


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The conservation of Ho Tung Gardens is not about freezing the place at a given point in

time. Clearly, changes that do not adversely impact the important character-defining

elements are acceptable. This is the approach advocated by English Heritage and one

accepted as international best practice. It is about sustaining the place as a living

cultural landscape.


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2.0 Architectural Significance of the Mansion of Ho Tung Gardens

By Lee Ho Yin

2.1 Guiding Principle and Methodology

In this section, the focus is on establishing the heritage significance of the mansion.

The guiding principle for this study takes references from Article 67 of Conservation

Principles, Policies and Guidance for the Sustainable Management of the Historic

Environment (English Heritage 2008: 36), which states that

Different people and communities may attach different weight to the same

heritage values of a place at the same time. Experience shows that judgements

about heritage values, especially those related to the recent past, tend to grow in

strength and complexity over time, as people's perceptions of a place evolve. It

is therefore necessary to consider whether a place might be so valued in the future

that it should be protected now.

"To consider whether a place might be so valued in the future that it should be protected

now" is exactly the underlying rationale for an appraisal of the mansion, which will help

in determining whether or not the building is worthy of being protected as a monument,

which can be defined as an architectural heritage significant to the historical

development and cultural identity of Hong Kong.

This study uses Susan M. Pearce's methodology analyzing cultural heritage through

various scales of social organizations – individual, family, local community, ethnic

group, nation/sovereign state, and world. To achieve greater objectivity and

representation of the appraisal, this study examines the architecture of the mansion from

the three levels most appropriate to the nature of the appraisal: nation (represented by

China); ethnic group (represented by Chinese communities within and without Hong

Kong); and local community (represented by the Hong Kong community, in particular,

the Hong Kong Chinese community).

In this study, the original English names of the Chinese people are used, with the

modern Pinyin-Romanized version given in parentheses.


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2.2 Chronological Development of the Mansion

1883 John Yardley Vernon, a founding member of the Association of

Stockbrokers in Hong Kong (the forerunner of the Hong Kong Stock

Exchange) and partner of the stockbroker firm Chater & Vernon, leased

Rural Building Lot (R.B.L.) No. 28 and erected a residential house named

"The Falls" after a small waterfall on a mountain stream that ran through the

site.

1887 John Yardley Vernon leased more land at the southwestern end of R.B.L.

No. 28 to add a garden to the house.

1923 Through lawyer Charles David Wilkinson, Robert Ho Tung purchased the

property on R.B.L No. 28 and leased two contiguous lots: R.B.L. No. 124

and Garden Lot No. 26.

1925 Through the architectural and engineering practice Palmer and Turner

(today's P & T Group), Robert Ho Tung applied to the Public Works

Department for the construction of a mansion on the combined lots. The

property was meant as the residence of one of Robert Ho Tung's wives,

Clara Cheung (Lady Ho Tung; also Romanized as Clara Cheng), and her

children.

1926 Construction of Robert Ho Tung's mansion began.

1927 Construction of Robert Ho Tung's mansion completed. The property

maintained the name "The Falls."

1938 Clara Cheung died, and a commemorative Chinese gateway was constructed.

On the lintel of the gateway are the words "Ho Tung Gardens" (in English),

by which the property was henceforth named.1

1 Curiously, the 26th edition (1956: 336) of Index of Streets, Mansion Numbers and Lots lists the property

as "Ho Tung's Garden," while the 27th edition (1961: 315) lists it as "Ho Tung Gardens."


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2.3 Clarification on the Aesthetic Character of the Mansion: Origins and

Definition of "Chinese Renaissance Architecture"

The distinctive aesthetic character of the mansion represents a key character-defining

element by which the mansion carries its most important heritage significance. Before

we proceed to prove or disprove this, it is necessary to clarify the architectural

aesthetics of the mansion.

The architectural aesthetics is popularly referred to in the media, the Internet and

government documents as the "Chinese Renaissance style" (author's italics).2 This is

by no means an incorrect term – it is an expedient terminology by which a popular

understanding of the abstract meaning of the descriptor can be readily achieved, which

is something important in conservation. However, as a piece of academic research,

greater rigor is required to clarify the term, in order to leave no ambiguity regarding the

aesthetic character of the architecture of the mansion.

Research into the origins of this form of architectural aesthetics reveals that it was not

originally referred to as a "style," and the "style" affix is a local popular reference. It is

quite possible that the term "Chinese Renaissance style" is a re-translation of the

Chinese translation 中國文藝復興風格, and the term was subsequently adopted by

authors in printed and on-line English publications. An example of a recent English

publication that uses this term is the book chapter by Eduard Kögel (in the book

Architecture and Identity, 2008), as evident in the title "Using the Past to Serve the

Future – The Quest for an Architectural Chinese Renaissance Style Representing

Republican China in the 1920's-1930's."

The term "Chinese Renaissance" is not a Chinese descriptor; it was coined in the

English language by a group of American- and European-trained first-generation

Chinese architects who advocated for a nationalistic movement in post-revolution

Republican China (1911-1949). In Hong Kong, the original source of the term is most

likely the 1964 book (in English) entitled Chinese Architecture: Past and Contemporary

2 For example, in the Legislative Council Brief entitled "Declaration of Ho Tung Gardens at 75 Peak

Road as a Proposed Monument under the Antiquities and Monuments Ordinance"

(DEVB/CS/CR6/5/284), dated January 2011, the term "Chinese Renaissance style" is mentioned five

times, such as on page 4, in which it is stated that "the main building of Ho Tung Gardens is built in

Chinese Renaissance style."


(Fig. 2.1) by one of China's first-generation Western-trained Chinese architects, Su

Gin-djih (徐敬直, 1906-1983) (Fig. 2.2). From the time of its publication in 1964 until

the opening up of Mainland China in the 1980s, this was (as far as it is known) the first

comprehensive English publication written by a Chinese architect on the subject of

Chinese architecture, which, significantly, included a detailed discussion of

contemporary Chinese architecture of the 20th century, from the Republican China

period to the early decades of the People's Republic of China. As such, it became a

standard reference for university students in Chinese architecture, fine arts and history,

at a time when books and papers were the only easily accessible references, and were

relatively hard to come by.

Figs. 2.1 and 2.2 (from left to right) The book Chinese Architecture: Past and Contemporary (1964)

(source: shequ.kongfz.com) and the author Su Gin-djih (source: Wenweipo).

However, in the section of Su's book that discusses important architectural examples of

Chinese Renaissance carried out in Republican China (Su 1964: 135-140), he did not

use the term "Chinese Renaissance style" to describe the works. Instead, he referred to

the architects involved as "forerunners of the Chinese Renaissance movement" (Su 1964:

135) (author's italics) and the buildings as "Chinese Renaissance architectural work" (Su

1964: 137). Elsewhere in the book, he further emphasized that Chinese Renaissance in

architecture was a movement (Su 1964: 241, 244). The only one time in the entire

book in which Su connected "Chinese Renaissance" with "style" was in the description

of the "National Art Treasure Museum" in Taipei (he was actually referring to the

National Palace Museum, as it is now known) (Su 1964: 151), and the use of the word

"style" in conjunction with "Chinese Renaissance" was specifically for commenting on

the stylistic nature of the building as a modern imitation of an imperial Chinese palace.

It is quite likely that Su's single mention of "Chinese Renaissance style" in his book was

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subsequently taken out of context by other authors and used as an expedient description

for buildings of the Chinese Renaissance movement in architecture.

While Su, a graduate in architecture from the University of Michigan in 1930, was

among the pioneer group of first-generation Western-trained architects who promoted

the Chinese Renaissance movement in architecture, he was definitely not the first to

write about the "Chinese Renaissance movement" in an English language publication.

Another pioneer architect, Doon Dayu (董大酉, 1899-1975; originally Romanized as

Doon Dayu), was probably the first, as he wrote in his article "Architectural Chronicle"

in the English-language T'ien Hsia Monthly (天下月刊, established in Shanghai in 1935)

(Doon 1936/2010: n.p):

A group of young students went to America and Europe to study the fundamentals

of architecture. They came back to China filled with ambition to create

something new and worthwhile. They initiated a great movement, a movement to

bring back a dead architecture to life: in other words, to do away with poor

imitations of western architecture and to make Chinese architecture truly national.

This movement is often referred to as the “Renaissance of Chinese Architecture”

(author's italics).

In the same article, Doon further clarified that the movement did not include "attempt(s)

to 'restore' Chinese architecture" – referring to architecture based on traditional design,

materials and technique – and that it is an architectural movement to modernize Chinese

architecture for modern China by adapting "Chinese features for modern purposes."

Doon's definition of the architectural nature of the movement is not dissimilar in

essence to Su's definition: "the use of reinforced concrete and other modern materials in

the Chinese-style buildings" (Su 1964, 135). Combining Su and Doon's definitions,

what constitutes architectural works of the Chinese Renaissance movement can be

defined as follows: in terms of materials and techniques, it employs reinforced concrete

and other modern materials in its construction; and in terms of aesthetics, it adapts

Chinese-style decorative features on buildings that serve modern functional purposes.

It is therefore pointless to argue whether the mansion of Ho Tung Gardens belongs to

the "Chinese Renaissance style," as there has never been such a style to begin with.

What we have is a movement – a common ideology – to modernize Chinese architecture

in terms of building materials, construction techniques and a clearly identifiable

Chinese aesthetic appearance. As such, the mansion of Ho Tung Gardens clearly is an

expression of such a movement as defined by Su and Doon.


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Although technically accurate, it is too cumbersome to describe the mansion as "an

architectural work of the Chinese Renaissance movement." Instead, "Chinese

Renaissance architecture," a term which increasingly appears in academic

publications (for example, in Rowe and Kuan 2002: 74), will be adopted in this

study to refer to the aesthetic character of the mansion's architecture.

As an epilogue to this discussion, it is interesting to note that while publications by

academics from Mainland China on the topic of contemporary Chinese architecture, in

both Chinese and English, were steadily becoming available since the 1980s, there was

little mention of the term "Chinese Renaissance architecture." Instead, from the 1980s

through the 1990s, a confusing array of substitute terminologies, such as "Eclectic

Style," "National Style," "Palace Style" and "Chinese Art Deco," were used by

academics in Mainland China to either include or specifically refer to what clearly

belongs to the genre of Chinese Renaissance architecture.

Given that Chinese Renaissance architecture was an integral part of the Kuomintang's

ideology on national identity during the Republican China period, it is unsurprising that

the term was suppressed or avoided by Mainland Chinese academics during the

uncertain early decades of China's open-door liberalization. The political overtones of

the architecture was revealingly expressed in the earlier mentioned book by Su Gin-djih,

who was commissioned by the Kuomintang Government for a number of important

architectural projects in the 1930s. In his book, he wrote (Su 1964: 145-146 and 152),

After Taiwan was made the provisional capital [in 1949], many Chinese architects

came to the island with the government, and still imbued with the zeal of the

Chinese Renaissance, carried on their work …. The architects in Taiwan, armed

with free thought, are on the march. Surviving the spirit of the Chinese

Renaissance, they are marching steadily, step by step, on their road to success –

using new techniques, new materials and now [sic] ideas.

The politically motivated avoidance of the term "Chinese Renaissance architecture" in

Mainland China was confirmed by Prof. Tang Guohua (湯國華教授), a professor of

architecture from Guangzhou University, who led the recent restoration of King Yin Lei,

a recognized piece of Chinese Renaissance architecture. In a discussion with the

author, he said that he rarely came across the term "Chinese Renaissance architecture"

while in Mainland China, and was surprised by the popularity of the term in Hong Kong.

Part of the reason, he said, was because Liang Ssu-Cheng (梁思成, Liang Sicheng in


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Pinyin Romanization), arguably the most prominent member of the Chinese

Renaissance movement in architecture, was severely criticized and subsequently purged

in the 1950s for his architectural ideology. This tragic chapter of Liang's life is fully

detailed in Su's book (1964: 152-191), in which Su noted that, in 1958, Liang, his

colleagues and students, were sent to work in the people's commune for five months (Su

1964: 191). It was not until the 2000s that Liang's contribution to architecture began

to be acknowledged in Mainland China. In June 2010, a bronze statue of Liang was

unveiled at Tsinghua University, where he had been a professor, in official recognition

of his contribution.

The increased academic discussion in the subject of Chinese Renaissance architecture

and the seemingly "rehabilitation" of the term in the 2000s could be due to improved

relationship between the Chinese Communist Party and the Taiwan-based Kuomintang

Government during the same period. An evidential highlight of the improved

relationship was the historic official visit to Mainland China by senior members of the

Kuomintang, led by party elder Lien Chan (連戰), in 2005. More research is needed to

investigate this connection, but it is outside the scope and purpose of this study

2.4 Socio-political Significance of the Architecture at the National Level

To understand this significance, one has to look beyond the superficial aesthetic quality

of the features, and examine the underlying socio-political meaning behind the

aesthetics, and the relevance to Hong Kong.

As established in Section 2.3, the architectural aesthetics in question is referred to as

"Chinese Renaissance architecture." It represents the vision of China’s first-generation

Western-trained modern architects to create an architectural identity for the New China.

Fueled by the optimism and idealism of a post-revolution Republican China, these

architects launched the Chinese Renaissance movement in the 1920s. This movement

was an attempt to modernize and revitalize Chinese architecture and develop an

architectural language that combined the desire for Chinese aesthetic tradition and

Western construction technology in architecture. While foreign architects in China,

such as the American architect Henry K. Murphy (1877-1954), may have contributed to

the origins and development of the movement from the 1910s, the subject is not the

scope of this study. Rather, the scope is focused on the development of Chinese

Renaissance architecture from its Chinese originators, and its impact on Chinese

communities.


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The story of this architectural development goes back to the 1920s when the first

students from the newly established Republic of China journeyed to the United States to

study architecture at elite universities, such as Columbia, Harvard, MIT, Pennsylvania

and Yale (and to a lesser extent, the equally elite European school of architecture,

Architectural Association in London). This academic journey to the West was

motivated by a passionate nationalistic idealism to modernize a Chinese society that

was deemed to have been mired in its imperial past, and the means to do so was through

Western rationalism and scientific methods embedded in the study of architecture in

Western universities (Atkin 2011: 45). However, these vanguard students would soon

discover the contradiction of being modern and Chinese at the same time:

Although their coursework and studios involved the rigorous study of Western

accomplishments in architecture, most of them struggled with the idea of how to

be modern (usually equated with Western ideas) and still be Chinese (Atkin 2011:

45).

The famous Chinese reformist and educator Liang Chi-chao (梁啟超, 1874-1929 ;

Romanized in Pinyin as Liang Qichao) (Fig. 2.3) believed that the contradiction could

be reconciled

… through a deep understanding of ancient Chinese history and Confucian

philosophy and their reintegration into modern life, much in the way of the Italian

Renaissance was built on the restoration of ancient Greek and Roman culture, art,

and humanism (Atkin 2011: 51).

Liang Chi-chao's prophetic belief would come true after the first-generation

American-trained Chinese architects returned to China and initiated a movement to

develop a Chinese national style that blended Western architectural technology with

traditional Chinese architectural forms. Liang happened to be the father of one of

these first-generation U.S.-trained Chinese architects – Liang Ssu-Cheng (梁思成 ,

1901-1972, Romanized in Pinyin as Liang Sicheng) (Fig. 2.4), a graduate of the

University of Pennsylvania and arguably the most renowned member of China's

first-generation architects and architectural educators. The movement, called the

"Renaissance of Chinese Architecture" by its proponents (Doon 1936/2010, n.p.), was

initiated in the 1920s and vigorously developed throughout the 1930s before it was

slowed down by the onset of wars and political turmoil.


Besides Liang Ssu-cheng, one of the key proponents of this movement included his wife

and fellow graduate of the University of Pennsylvania – Phyllis Lin Whei-yin (林徽因,

1904-1955; Romanized in Pinyin as Lin Huiyin) (Fig. 2.5). The couple became the

first-generation of professors in architecture in China. As leading academics, they

contributed to the movement through their rediscovery of Classical Chinese

architectural rules from a book on traditional architectural standards, Yingzhao Fashi (營

造法式 ), and their integration of such rules with modern (Western) architectural

construction. Liang and Lin were among the most prominent first-generation Chinese

architects and their influence on architectural trends in Chinese communities within and

without China was far-reaching.

Figs. 2.3, 24, 2.5 and 2.6 (from left to right) Liang Chi-chao (source: Baidu), Liang Ssu-Cheng (source:

yvonnefrank.wordpress.com), Lin whei-yin (source: Wikipedia) and Robert Fan (source: The Standard).

An equally prominent proponent of the movement was also a fellow University of

Pennsylvania graduate, Robert Fan (范文照, 1893-1979; whose Pinyin-Romanized name

is Fan Wenzhao) (Fig. 2.6). As one of Republican China's leading architects, Fan

completed a number of buildings in the 1930s and these stand today as seminal

examples of Chinese Renaissance architecture. These buildings include:

Officers' Club in Nanjing (勵志社, completed in 1931, now part of Zhongshan

Hotel) (Fig. 2.7)

Chinese YMCA in Shanghai (上海中華基督教青年會, completed in 1931, now

the Shanghai YMCA Hotel) (Fig. 2.8)

Ministry of Railways in Nanjing (南京鐵道部, completed in 1933, now part of

the campus of the People's Liberation Army Nanjing Institute of Politics)

(Fig. 2.9)

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Fig. 2.7 Officers' Club in Nanjing, from a vintage postcard (source: stamp.shuoqian.net).

Fig. 2.8 The Chinese YMCA in Shanghai (source: Lee Ho Yin).

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Fig. 2.9 Ministry of Railways in Nanjing, from a vintage postcard (source: stamp.shuoqian.net).


Another important proponent of Chinese Renaissance architecture was Doon Dayu (董大

酉, 1899-1975; Romanized in Pinyin as Dong Dayou) (Fig. 2.10), a graduate of

University of Minnesota and Columbia University. A prolific practitioner and writer,

Dong described Chinese Renaissance architecture as "a combination of modern and

Chinese designs" (quoted in Kögel 2008: 463).

Doon was particularly significant as the Chief Architect of the Beaux-Arts influenced

Greater Shanghai Plan (大上海計劃) (Fig. 2.11), which was to be the new city centre of

Shanghai. From 1929 to 1937, Doon and other prominent Chinese architects

completed a number of public buildings, before the Japanese invasion of China spelt the

end of the plan. The buildings of the Greater Shanghai Plan represent the height of

expression of Chinese Renaissance architecture. As a showcase of the most modern

form of architecture that is identifiably Chinese in character, these buildings exercised

considerable influence on overseas Chinese communities, which adopted the

architectural aesthetics for some of their important buildings (this aspect will be

elaborated in Section 2.5).

Figs. 2.10 and 2.11 (from left to right) Doon Dayu (source: www.yplib.org.cn) and .a bird's eye view

drawing of the Greater Shanghai Plan's city centre (source: expo2010.eastday.com).

Today, the buildings designed by Doon in the Civic Centre of the Greater Shanghai Plan

are protected as the city's important historic buildings; among the more expressive

examples of Chinese Renaissance architecture are:

Mayor's Building (上海市府大樓, completed in 1933, now Shanghai Gymnastic

College) (Fig. 2.12)

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Athletics Complex (上海市體育場 , completed in 1935,today's Jiangwan

Stadium) (Fig. 2.13)

Municipal Museum (上海市博物館, completed in 1935, now part of Changhai

Hospital) (Fig. 2.14)

Municipal Library (上海市圖書館,completed in 1936, now part of Tongji High

School) (Fig. 2.15)

Figs. 2.12 and 2.13 (from left to right) Mayor's Building (source: diary.wenxuecity.com) and Athletics

Complex (source: www.ypta.gov.cn) of the Greater Shanghai Plan.

Figs. 2.14 and 2.15 (from left to right) Municipal Library (source: ypq.sh.gov.cn) and Municipal

Museum (source: ypq.sh.gov.cn) of the Greater Shanghai Plan.

2.5 Impact of the Socio-political Significance of the Architecture on Chinese

Communities outside China

The impact of Chinese Renaissance architecture on overseas Chinese society can be

seen in terms of its popularity through time and geographical spread. The outstanding

architectural works of Doon Dayu in the Civic Centre of the Greater Shanghai Plan

undoubtedly provided the stimulus that pushed the movement to its height through the

1930s. During this golden decade, the movement competed with and outlasted such

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http://www.ypta.gov.cn/


globally popular architectural trends as Art Deco and Stripped Classicism. The latter

two stylistic trends went into decline after World War II, while the longevity of Chinese

Renaissance architecture persisted in its use for important buildings of Chinese

communities in as late as the 1960s, such as, the Singapore Chinese Chamber of

Commerce (新加坡中華總商會, completed in 1963, now known as the Singapore Chinese

Chamber of Commerce and Industry Building) (Fig. 2.16).

The aesthetic character of Chinese Renaissance architecture has been applied in almost

all building types. However, it is most often associated with institutional buildings,

particularly those for education and religion. For educational buildings, some of the

most distinguished examples in China are the original campus buildings of the Private

University of Nanking (私立金陵大學, established 1910, now part of the Nanjing

University campus and a Protected National Heritage Site 全國重點文物保護單位) (Fig.

2.16) and those of the National Wuhan University (國立武漢大學, established 1928, now

Wuhan University and a Protected National Heritage Site) (Fig. 2.18).

Fig. 2.16 Singapore Chinese Chamber of Commerce (source: www.singas.co.uk).

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Fig. 2.17 Campus buildings of the Private University of Nanking (source: wiki.ilzp.com).

Fig. 2.18 Campus buildings of the National Wuhan University (source: news.ziqiang.net).

Given that education is traditionally highly valued in Chinese society, it is not

surprising that the aesthetic character of Chinese Renaissance architecture was adopted

by a number of prominent educational institutes outside China. A prime example is

the Administration Building of Nanyang University (南洋大學行政樓, completed in 1956,

now a National Monument in Singapore) (Fig. 2.19), which was Singapore's first

Chinese-language university and is now the Nanyang Technological University, one of

Asia's leading universities. Another example is the Main Building of Chung Cheng

High School (中正中學主樓, completed in 1968) (Fig. 2.20), which was Singapore's top

Chinese-language secondary school and is now an elite bilingual secondary school in

Singapore.

In Hong Kong, perhaps the most distinguished use of the style in an educational

building is the Tung Lin Kok Yuen (東蓮覺苑, completed in 1935, now a Grade II

Historic Building) (Fig, 2.21) in Happy Valley, which was founded by Clara Cheung –

the first resident of Ho Tung Gardens – as Hong Kong's only seminary for nuns and the

first Buddhist free school for girls.

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Fig. 2.19 Administration Building of Nanyang University in Singapore (source: blog.omy.sg).

Fig. 2.20 Main Building of Chung Cheng High School in Singapore (source: Wikipedia).

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Fig. 2.21 Tung Lin Kok Yuen in Happy Valley, Hong Kong (source: Flickr).


The aesthetic character of Chinese Renaissance architecture was adopted by Christian

churches in China during the early 20th century to serve its Sinification agenda. A

detailed discussion of this typological application can be found in Jeffrey W. Cody's

article (1996) and will not be repeated in this report. In Hong Kong, the style is

prevalent in Christian buildings, and examples include:

Buildings of the Tao Fung Shan Christian Centre in Shatin (道風山基督教叢林,

completed in 1930, now Grade II Historical Buildings) (Fig. 2.22)

Holy Spirit Seminary in Wong Chuk Hang (聖神修院, completed in 1931, now

a Grade I Historic Building) (Fig. 2.23)

Chinese Methodist Church in Wan Chai (中華循道公會香港堂, completed in

1932, demolished in 1994) (Fig. 2.24)

Holy Trinity Church in Ma Tau Wai (香港聖公會聖三一堂, completed in 1937,

now the Holy Trinity Cathedral and a Grade III Historic Building) (Fig.

2.25)

St. Mary's Church in Causeway Bay (聖公會聖馬利亞堂, completed in 1937,

now a Grade III Historic Building) (Fig. 2.26)

St. Francis of Assisi Church in Shek Kip Mei (聖方濟各堂, completed in 1955)

(Fig. 2.27)

Figs. 2.22 and 2.23 (from left to right) Chapel of Tao Fung Shan Christian Centre in Shatin (source:

Wikipedia); the main building of Holy Spirit Seminary in Wong Chuk Hang (source: Flickr).

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Figs. 2.24 and 2.25 (from left to right) The Chinese Methodist Church in Wan Chai (now demolished)

(source: Cheng Po-hung); Holy Trinity Church in Ma Tau Wai (source: the-sun.on.cc).

Figs. 2.26 and 2.27 (from left to right) St. Mary's Church in Tai Hang (source: Lee Ho Yin); St. Francis

of Assisi Church in Sham Shui Po (source: Lee Ho Yin).

It can be seen that majority of Hong Kong examples of Chinese Renaissance

architecture were completed in the 1930s. A critical year of note is 1928, when China

was able to form a unified government under the Kuomintang after years of fragmented

regional control by warlords. The resultant socio-political stability provided the

impetus for the development of public works projects vital for national development,

such as facilities for education, administration and amenities. These public works

enabled emerging architects in China to advance the movement in Chinese Renaissance

architecture in some of the largest and most prominent architectural projects.

21


22

By the 1930s, the movement had spread to cities in the European colonies of the Far

East, such as Singapore and Hong Kong, where the style was embraced as an expression

of Chinese identity under the reign of Western authorities. In post-1949 Taiwan, the

style was upheld as an expression of political ideology in the last remaining Chinese

territories held by the Kuomintang Government (see: Su 1964: 140-152 and Fu 2011:

136-140), but this aspect is outside the scope of this study.

2.6 Significance of the Mansion to the Hong Kong Community

Robert Ho Tung was of European patrilineal descent, and he could have identified

himself with the European community. Instead, he adamantly identified himself

throughout his life as a Chinese person and with the Chinese community in Hong Kong

at a time of racial segregation and discrimination. He therefore subjected himself to

open hostility from the European community when he applied to build a house on the

then European-exclusive Peak District.3

To make matter worse for himself, instead of taking an easier approach by conforming

to the exclusively "European house" built-environment in the district, he willfully chose

to have the mansion designed in a conspicuously Chinese aesthetic character, which

subjected him to further hostility. The "European house" exclusivity in the Peak

District was established in the European District Reservation Ordinance, 1888, for

which it was argued that (see: Hong Kong Legislative Council 1888: 25-26):

The district indicated . . . is one which has always been occupied by European

houses, almost without exception, so that there will be no disturbance of present

conditions; and the only change proposed is the prohibition for the future of what

has not actually taken place in the past, viz., the erection there of what are known

as Chinese houses by large number of people after the manner usual with Chinese.

Although this ordinance was repealed and replaced by the Peak District Reservation

Ordinance, 1904, the tradition of having exclusively "European houses" in the Peak

district was firmly in place when Robert Ho Tung applied to build his mansion in the

district. This suggests that Robert Ho Tung intentionally chose the aesthetic character

of the Chinese Renaissance architecture for his mansion as a statement about class

divisions and racial segregation in Hong Kong. As a learned person, it is likely that he

3 This aspect is elaborated in the historical appraisal of Ho Tung Gardens by Zheng and Wong (2011).


23

was aware of the movement of Chinese Renaissance architecture and the socio-political

meaning behind the movement. In any case, the aesthetic choice for the mansion was

very much in the Zeitgeist, and consistent with the Chinese Renaissance movement

under intense development in China during the 1920s, when the mansion was designed

and built.

(For a detailed appraisal of the significance of the mansion, see: Section 6.1)


24

3.0 Additions and Alterations to the Mansion

By Curry C. K. Tse and Lee Ho Yin

3.1 Introduction

This section details the additions and alterations of the mansion. It should be

emphasized that changes to the fabric and the place should be treated as part of its

history and deserve appropriate attention and study.

The mansion is part of a continuing cultural landscape. It is located at a relatively

higher level of the site at approximately +368 mPD. From the mansion the

surrounding natural and man-made landscape elements in the gardens can be

appreciated; from the gardens the grandeur of the mansion can be observed.

The study consolidates the information derived from literary study, record plans kept by

the Buildings Department, and aerial photos from the Survey and Mapping Office of

Lands Department.


3.2 Additions and Alterations

Since its completion in 1927, the mansion of the Ho Tung Gardens (Figs. 3.1, 3.2, 3.3

and 3.4) has undergone a series of major additions and alterations. The sections below

are a chronological documentation of the changes made to the mansion.

Figs. 3.1. 3.2. 3.3 and 3.4 (from left to right, top to bottom) The north, east, south and west elevations

of the mansion of Ho Tung Gardens (source: Antiquities and Monuments Office).

(a) 1927

The property known as the Falls was completed. The property would go by this name

until 1938, when it was renamed Ho Tung Gardens. The mansion on the property was

25


26

designed by the architectural practice Palmer and Turner. Undoubtedly, Clara Cheung

had much involvement in creating a character of East-meets-West for the mansion's

interior and yet suitable for modern living by:

(1) furnishing different rooms in Western and Chinese styles, for example, "a

large sitting room after the style of an English drawing room, a second room

to be furnished with more formal Chinese furniture";

(2) furnishing the "chapel" (referring to the designation of this room on the

architectural plans) as a "Buddhist temple" and a shrine for ancestral

worship;

(3) installing such modern services as " light fittings from the General Electric

Company of London."

Below is an extract from Gittins (1969: 61) that describes the original character of the

interior of the mansion, and, at the same time, reveals Clara Cheung's involvement in

the furnishing:

It was to be a large house – it would have to be to fulfill mother’s requirements.

The plans showed three huge reception rooms on the ground floor, leading in from

the main entrance on the south side. All three rooms looked out on to the same

wonderful view, slightly angled because of a difference in position, of the bays

and islands and boundless sea beyond, that we had at The Chalet and Dunford.

There was a library and reading room at the back. We know that Mother had

wanted a large sitting room after the style of an English drawing room, a second

room to be furnished with more formal Chinese furniture, and a dining room to

hold twenty tables (Chinese style) for dinner, giving a capacity for two hundred

guests. The three main rooms had sliding doors which could be drawn aside to

form one large entertainment area. There was to be a sun terrace on the west

side and a covered porch forming a rear entrance on the north. Over this porch

was a sick room, where minor operations could be performed; it had its own

bathroom and kitchenette and could be used as an extra guest room. This was

half way up the main staircase and formed a mezzanine floor, with a “chapel”

above this, over which was a tower roof. The chapel when finished turned out to

be a Buddhist temple of impressive dignity. It served also as a shrine for

ancestral worship.

The kitchen and pantry occupied the southwest corner of the ground floor, above

which were two hot rooms for storage. … Upstairs there were seven large


27

bedrooms, with five bathrooms. The house had a flat roof, with a sun room

approached through the chapel. … Men servants’ quarters were to be built over

the garage which was separate.

It turned out to be a lovely home, beautifully finished with marble fireplaces

imported from Italy, teak paneled walls and parquetry floors. Plasterers were

imported from Shanghai to work on the high ceilings and Mother herself selected

the light fittings from the General Electric Company of London.

Below is an extract from Cheng (1976: 36-39), which highlights Clara Cheung's role in

introducing many Chinese elements in an otherwise Western interior ("Chinese

reception room"; "family shrine"; "Buddhist deities"; "ancestral tablets") after the

mansion was completed in 1927:

Mamma took a great interest in the project and made numerous suggestions that

were used by the architects. When she accompanied Eva and me to London in

1927, she took the plans with her and arranged for the General Electric Company

to supply many of the electrical fittings, including a number of beautiful

chandeliers. The central hall of the house was decorated and furnished as a

Chinese reception room, with blackwood furniture and an impressive carved

blackwood screen.

It was a beautiful house. The floors were parquetted in teak and the downstairs

walls paneled in the same wood. An exquisite wrought iron banister framed the

window staircase, and there were marble slabs in various places. It had nine

bedrooms and half a dozen bathrooms. The inevitable box-rooms (there were

two of them) were placed between the upper and lower floors at the back, above

the large kitchen. The women servants’ quarters were in the basement, which

had windows facing down the hillside and overlooking the fishing village of

Aberdeen. Other living quarters (above the garage) housed the men servants.

Over the covered driveway entrance there was a large airy bedroom with windows

on three sides, complete with bathroom and kitchenette. This suite of rooms

Mamma, because of her intense interest in nursing, planned as a sick room or

convalescent room.

Above the sick room was Mamma’s family shrine, with an altarpiece in the centre,

designed so that her Buddhist deities were on one side and her ancestral tablets on

the other. Just outside the shrine were two little rooms Mamma used for


28

meditation.

(b) 1938

When Clara Cheung passed away in 1938, two major changes were made on the

property to commemorate her: the first was the renaming of the Falls to "曉覺園" in

Chinese and "Ho Tung Gardens" in English; the second was the construction of a

Chinese pai lou gateway.

(c) 1941, December

The prelude to a major change to the original fabric of the mansion took place at the

start of the Japanese invasion, when aerial bombs seriously damaged the family shrine

and Clara Cheung’s bedroom.

Below is an extract from Cheng (1976: 39) that details the war damage:

The Falls received several direct hits during the war, one bomb landing on the

roof of Mamma’s shrine, another on her bedroom (which made it look like an

open verandah) and several elsewhere in the house and on the grounds.

(d) 1941-1945

During the Japanese occupation, many timber components, such as doors, windows and

timber flooring were looted due to shortage of firewood for cooking. This means that

the timber components in the mansion are post-war additions.

(e) 1949

Post-war rehabilitation of the damaged mansion began. The significance of this

rehabilitation is stated in the notes of the submission plans to the Public Works

Department: “the whole building to be reinstated to its pre-war state” (authors' italics).

This is evidential that the reconstruction has maintained the Chinese Renaissance

architectural character. These reconstructed parts of the mansion are clearly


29

documented in the architectural plans, which are presently available.

(f) 1953

The interior of the mansion underwent major changes as the layout was rearranged to

accommodate six flats that would be individually rented out. These flats, of varying

sizes, are located on:

Ground floor: two flats created from the areas of the existing ground floor and

the new extension.

First floor: two flats created from the areas of the existing first floor and the

new extension.

Entrance tower: two flats converted from the bedrooms originally housed on

different floors of the tower.

This major redesigning of the interior was carried out by the architectural practice

Palmer and Tuner, and it incorporated ideas of Jean Gittins, daughter of Robert Ho Tung.

Some of the more conspicuous changes include the following:

(1) New two-storey extension was built on the east elevation of the mansion.

(The extension has a pitched roof that is identical in design to the pitched

roof of the entrance tower.)

(2) New kitchens, bathrooms, toilets, cloak rooms, stores and other services

rooms were added to the flats.

(3) New fire places (and corresponding chimneys) were built and old ones

demolished to accommodate the flats.

(4) Main staircase was redesigned.

(5) Greenhouse on the roof was converted to a "Living & Dining Rm" (this is the

designation in the architectural plans).

(6) New balcony was built on the south elevation.

(7) New fountain was built in place of a green house on the north elevation.

(8) New garage was built that could accommodate eight cars.

(g) 1958

The "Living & Dining Rm" on the roof (originally a greenhouse) was enlarged to

incorporate a study. Again, the design was executed by Palmer and Turner.


30

(h) 1980

The mansion was modernized with a lift tower. The tower has a Chinese-style roof

design similar to that of the pavilion on the terrace. This time, the design was

executed by the architectural practice Spence and Robinson (today's Spence Robinson

Group).

3.3 Conclusion

The most salient point about the changes made to the mansion is that despite the serious

war damage, the postwar reconstruction, and the extensive additions and alterations,

there is, without question, no apparent change in the aesthetic character of the

architecture, which is discernably Chinese Renaissance. As such, the most important

character-defining elements are not its individual parts, but the building as a whole as an

aesthetic expression of Chinese Renaissance architecture.


31

4.0 Ho Tung Gardens: Significance of the Gardens

By Lynne D. DiStefano

4.1 Introduction

The gardens are part of a unique and distinctive continuing cultural landscape, which

includes, in addition to the gardens, a mansion that expresses the aesthetics of the

Chinese Renaissance movement. Consequently, focusing on either the garden or the

mansion negates the original design intent: the creation of a mansion within a garden

setting that offers dramatic views.

In order to understand the importance of the gardens within a continuing cultural

landscape, garden areas and their associated garden elements (Character-defining

Elements) need to be identified. Accordingly, in this section (4.0), the gardens are

described in general, the garden areas are explained in detail and the views (and

viewpoints) addressed. In the following section (5.0), the individual garden elements are

examined in greater detail.

4.2 Description

(a) Garden Areas (for more information about the Garden Areas, see Section 4.3)

The gardens are a unique combination of different garden areas:

Approach, including a Pai Lou

Mixed Buddhist Garden (including a “Pure Land Garden”)

Recreation Areas, including relaxation and viewing areas

Terraces (primarily for growing vegetables)


32

(b) Geography of the Site (for more information about the stream, see Section 5.5, Element 18)

The gardens take advantage of the geography of the site, relating, for example, to a

southward flowing stream that bisects the core of the gardens. The Approach and

Mixed Buddhist Garden lie to the east of the stream, while the Recreation Areas are

found on either side. The Terraces lie to the west of the stream, and relate directly to

the mansion. (Please note that the stream lies outside the property technically as it lies between two

parcels of land.)

(c) Spirit of Place; Garden Traditions

Couplets on the Pai Lou reflect the Spirit of the Place, especially the Pure Land Garden

component: “a pure land for coming and going of life” – “a sacred mountain for peace

and stability in life”; “accumulate good deeds for surplus happiness” – “exercise the

(Buddhist) ways for good fortune.” At the same time, the gardens are a coherent

expression of both Chinese and Western approaches to garden design. In additional to

garden elements associated with the Mixed Buddhist Garden, traditional Chinese garden

elements are found throughout the gardens, including viewing pavilions and a zigzag

bridge. Decidedly Western features include a swimming pool and what appears to be a

nearby grassy area. The openness of the garden, as well, probably refers to the then

Western preference for less contained garden spaces.

4.3 The Garden Areas

(a) Approach, including Pai Lou (for more information, see Section 5.5, Element 1)

The approach to the gardens is marked by magnificent granite Pai Lou, which was

installed as a memorial to Clara Cheung shortly after her death. It pays explicit tribute

to her role in creating a memorable setting for a distinctive mansion.


33

(b) Mixed Buddhist Garden, including a Pure Land Garden (for more information, see

Section 5.5, Elements 2-9 and 13)

The Mixed Buddhist Garden occupies the garden area east of the original streambed and

generally flows, like the stream, from north to south, blending seamlessly with the

Recreation Areas and in harmony with the east-facing vegetable-growing Terraces

immediately to the west of the streambed. Major elements include (the numbering of

the elements is collated with the map in Section 5.2):

(1) Pai Lou;

(2) Bridge;

(3) Cave;

(4) Pagoda;

(5) Stairs to Pagoda;

(6) Well Parapet;

(7) Fountain;

(8) Guanyin;

(9) Moon Gate; and

(Elements 10 To 12 do not belong to the Mixed Buddhist Garden)

(13) Bamboo Forest (it is unclear whether or not this exists and, if so, whether or

not it exists to the extent of the original).

(c) Recreation Areas, including relaxation and viewing areas (for more information, see

Section 5.5, Elements 10, 14, 15, 17, 20 and 21)

The Recreation Areas, including relaxation and viewing areas, are found on either side

of the streambed. Major elements relating to recreation include:

(10) Swimming Pool; and

(15) Lawn (it is unclear if this is original).

(Please note that the tennis courts are not included as an element as they lay outside the gardens

proper.)

Major elements relating to relaxation include:

(14) Sitting Area (immediately west of the Swimming Pool).


34

Major elements specifically related to viewing areas include:

(17) Two-tiered Water Pavilion;

(20) South-facing Terraces (the upper terrace); and

(21) Viewing Pavilion.

(d) Terraces (for more information, see Section 5.5, Elements 19 and 20)

The vegetable-growing terraces occupy the East-facing Terraces and once occupied the

lower South-facing Terraces as well. Major elements are the terraces in and of

themselves:

(19) East-facing Terraces; and

(20) South-facing Terraces

4.4 The Views

The views from the mansion and its gardens, especially those from the upper terrace of

the South-facing Terraces, are a key factor in the siting of the mansion and the

landscaping of the grounds. Although such viewpoints are currently inaccessible to

the general public, they offer some of the best framed views of the southern part of

Hong Kong Island (Figs. 4.1 and 4.2). The containment of the views by nearby and

mid-distance hills enhances the experience and contributes to the Spirit of the Place.


Figs. 4.1 and 4.2 View from Ho Tung Gardens towards the south (source: Antiquities and Monuments

Office).

(For a detailed appraisal of the significance of the gardens, see: Section 6.2)

35


5.0 Garden Character-defining Elements (CDEs)

By Lynne D. DiStefano

5.1 Introduction

This section generally lists the garden elements in the following order: Approach; Mixed Buddhist Garden, including a “Pure Land Garden”;

Recreation Areas, which include relaxation and viewing areas; and Terraces (East-facing Terraces and South-facing Terraces). Please note that

many of the references cited are from 吳灞陵 (Ng, Bar-ling). 《香港九龍新界旅行手册》，二版 [A Travel Handbook to Hong Kong, Kowloon and the

New Territories, 2nd ed.], published in Hong Kong by 華僑日報 (Wah Kiu Yat Po [Overseas Chinese Daily News]) in 1951.

36


5.2 Location of Character-defining Elements 1 to 22 on a Map

37


5.3 Location of Character-defining Elements 1 to 22 on a 2009 Aerial Photograph

38


5.4 Location of Character-defining Elements 1 to 22 on a 1963 Aerial Photograph

39


40


5.5 Character-defining Elements 1 to 22

Element 1

Image(s) Description Significance Comments/References

Pai Lou

An elaborate granite entrance gate,

constructed in 1938, which

identifies the site as “Ho Tung

Gardens”.

Associated with the death of Clara

Cheung (Lady Ho Tung) and the

renaming of “The Falls”, most

likely in tribute to her creation of a

complex of gardens that includes a

Mixed Buddhist Garden, including

a Pure Land Garden.

Reference from Ng (1951: 9-10):

“What you will first see is the pai lou with the name “Hiu

Kok Yuen” [on the lintel board]. Inscribed on it [on the

columns] are two rhyming couplets: “a pure land for

coming and going of life [referring to the Buddhist cycle of

reincarnations – the book’s text miswrote the character for

“pure” to the homonymous character for “quiet”]; a

scared mountain [literally, “famous mountain” –

traditionally, famous mountains in China are sacred

mountains] for peace and stability in life” and “accumulate

good deeds for surplus happiness [“surplus happiness”

means more than enough for the living generation, and

plenty more for descendants]; exercise the [Buddhist] ways

for good fortune.” These inscriptions are the work of Yeh

Kung-cho [a renown Chinese politician, calligrapher and a

staunch Buddhist; his name has also been Romanized as

Yeh Kung-ch’ao and Ye Gongchuo], dated to the 27th Year

of the Chinese Republic (1938).”

41


Element 2


Bridge

A robust granite bridge (with

balustrades), which leads from the

pai lou, crosses the stream and

provides direct access to the

mansion. It most likely dates to

the construction period of the

mansion.

Integral part of site; section of

access “spine” that heralds one’s

entry to a Mixed Buddhist Garden

and the more secular land beyond,

including the east-facing terraces

(vegetable gardens) and the

mansion with its south-facing

terraces. The underside of the

bridge provides a meditation area –

the cave.

Reference from Ng (1951: 10):

“The bridge is called the Precious Magnificent Bridge [the

name comes from the Buddhist “88 Repentance Chant” in

which there is a line that says, “Salute to the All-nothing

Precious Magnificent Light Buddha” 南無虛空寶華光佛].”

42


Element 3


Cave

(beneath the

Bridge)

Cave is used metaphorically and

refers to the cave-like area beneath

the granite arches of the bridge.

The three characters above the main

arch read 善財洞 – the Cave of

Good Wealth.

Inside the cave, which should more

accurately be described as a

meditation cave, there is a sitting

area (now with two stools and a low

table of masonry construction).

On the archway nearest the sitting

area, an inscription 入三摩地

reminds visitors of the purpose of

the cave – "entering Samadhi" (see:

en.wikipedia.org/wiki/Samadhi),

which means going into deep

meditation or a state of nothingness.

The cave is clearly part of a Mixed

Buddhist Garden, including a Pure

Land Garden.


“Farther along is the Cave of Good Wealth [“Good

Wealth” is the Buddhist name of one of Lord Buddha’s

disciples, Sudhana, who later became a Buddasava, known

as the Child of Wealth; see:

en.wikipedia.org/wiki/Sudhana], and by this time we have

arrived below the Precious Magnificent Bridge.”

Please note that the stools and low table may have been

moved from another part of the gardens.

43


Element 4


Pagoda

A five-tier pagoda of masonry

construction with timber doors and

windows – and multiple roofs of

glazed terra cotta. A finial

terminates the apex of the

polygonal-shaped roof. At one

time (and perhaps even until today),

the interior contained statues

relating to Buddhist worship. The

pagoda sits on a terrace with granite

walls.

Not only is the pagoda one of the

very few historic pagodas

remaining in the region, it is also an

integral part of a carefully

orchestrated Mixed Buddhist

Garden.


“In front of the statue of Guanyin are stone seats under the

shade of trees, and behind the statue a Buddhist pagoda.”

44


Element 5


Stairs to

Pagoda

Masonry steps, with solid

balustrades and multiple landings,

lead from the area containing the

statue of Guanyin to an ample

terrace (with lattice-work

balustrade) surrounding the pagoda.

The stairs are the most direct point

of access to the pagoda from the

statue of Guanyin.

No reference to date.

45


Element 6


Well

Parapet?

A masonry structure that appears to

be the parapet for a well.

The structure may have a

connection with ritualistic

purification.


46


Element 7


Fountain

(with

Guanyin)

A double-ring masonry fountain

with a red decorative Hui pattern

(回紋) running around the exterior

face of the outer ring and red bosses

(nipples) running around the outer

face of the inner arcaded ring. In

the center of the fountain is a

pedestal supporting a statue of

Guanyin. It is unclear whether or

not the nearby stone seats

mentioned in Ng (1951: 9-10) are

extant.

There is no mention of the fountain

in Ng (1951: 9-10), although the

design and materials suggest that

parts of the fountain are original.


“On the path out of the bamboo forest, a statue of Guanyin

[the Buddhist Goddess of Mercy] comes into view. In

front of the statue are stone seats under the shade of trees,

and behind the statue a Buddhist pagoda.”

47


Element 8


Guanyin (on

pedestal)

Guanyin, probably of masonry

construction, is supported by a

pedestal, probably also of masonry

construction, which terminates in a

stylized lotus flower.

As part of a Mixed Buddhist

garden, Guanyin, the Buddhist

Goddess of Mercy, occupies a place

of considerable importance. She

provides the physical as well as the

spiritual focus for a Chinese garden

that is by nature loosely organized

and composed of fragmentary

elements. The current statue may

not be the original statue. (See:

Zheng and Wong 2011:50-51)


“On the path out of the bamboo forest, a statue of Guanyin

[the Buddhist Goddess of Mercy] comes into view. In

front of the statue are stone seats under the shade of trees,

and behind the statue a Buddhist pagoda.”

Reference from Zheng and Wong (2011: 50-51):

Ho Tung Gardens was commandeered by the British

military during the Japanese invasion to serve as a logistics

base and signal point. On 21 December 1941, Japanese

planes bombed the property, destroying military vehicles,

parts of the building and the Guanyin statue. A number of

soldiers were killed, and the family secretary by the name

of Ah Cheung was killed when the Guanyin statue fell on

him.

48


Element 9


Moon Gate

(with

Changing

Rooms)

A masonry moon gate with attached

changing rooms on either side

separates the fountain with Guanyin

and the pagoda (the sacred) from

the swimming pool (the secular).

(The roofs of the moon gate and

changing rooms are of glazed terra

cotta; the grills on both sides of the

changing rooms are of glazed terra

cotta in the shape of bamboo.)

On the north side of the moon gate,

that facing Guanyin, the inscription

reads “arriving on the shore of

awakening”. The inscription, 覺

The moon gate, a traditional garden

form used to frame carefully

selected views, is not only used

here as a framing device within a

garden setting, but seems to be used

as a division between the sacred

part of the garden – the Pure Land

Garden – and the more secular part

of the garden - that used for

recreation.


“Above the swimming pool is a crescent archway, sculpted

with four Chinese characters “Together landing on the

shore of enlightenment (or awakening)” [this is a phrase

from the Buddhist scriptures, referring to the

transformation from the state of bewilderment to

enlightenment in the understanding of Buddhism], and

adjacent to it is a changing room.”

Reference from Gittens (1969: 62):

“The swimming pool was tiled and with this went two

changing rooms, connected by an open moon gate, through

which the pool could be seen from the approach road.”

49



岸同登, is a Buddhism term. The

first two characters mean the "shore

of awakening". This is from the

Sutra that likens one's lack of

comprehension of the true meaning

of Buddhist philosophy as lost at

sea; when one finally understands,

he is liken to arriving on the shore.

On the south side of the moon gate,

that facing the swimming pool,

another inscription reads “beautiful

state of the West”. The

inscription, 西方勝境 , is a

Buddhism term that refers to the

beautiful state of mind a person

experiences upon reaching

50



enlightenment (a person gets to go

to the "Western paradise" when

he/she reaches enlightenment).

51


Element 10


Swimming

Pool

A tiled swimming pool, with an

elaborate perimeter pattern

including stylized swastikas, abuts

the moon gate and changing rooms

at its north end.

卐 (swastika) is a Chinese

character (pronounced in Mandarin

"wan" and in Cantonese "maan")

from Sanskrit that represents the

sign of Buddhism and means

"auspicious".

The swimming pool, carefully

crafted in small-scale black and

white tiles, signifies the recreation

aspect of the gardens – and

reinforces the powerful axis

established by the placement of the

sacred garden elements (bridge,

cave, pagoda, fountain with

Guanyin and moon gate).


“…and to the South a swimming pool surrounded by

bamboo trees.”


“The swimming pool was tiled and with this went two

changing rooms, connected by an open moon gate, through

which the pool could be seen from the approach road.”

52


Element 11


Garden

Bench;

Backless

Bench

(currently

along east

side of

Swimming

Pool)

Along the east side of the pool,

there is a garden bench and a

backless bench of masonry

construction. Behind the garden

bench, on the brick wall, there

seems to be an inscription.


Please note that these elements appear to have been moved

from another part of the gardens.

53


Element 12


Trellis (at

foot of

Swimming

Pool)

A series of masonry posts form a

garden trellis at the south end of the

swimming pool.

A framing device for gardens that

can also offer protection from the

sun.


54


Element 13


“Bamboo

Forest” (and

related

plantings)

Mature plantings (trees and shrubs),

perhaps including at least one

cluster of bamboo, are found

throughout the gardens.

The possible bamboo cluster could

relate to the bamboo forest

mentioned in Ng (1951:10). If so,

it should be seen as an integral part

of the Mixed Buddhist Garden.


“Facing the pool is an open area bounded by rockery, and

furnished with stone chairs and tables for use as a resting

place. Going down a flight of steps there is a bamboo

forest [there is close affiliation between bamboo and

Buddhism] and a water pavilion [a Chinese pavilion built

on the edge of water], and a small pavilion sits over a

ravine, across which spans a red timber wandering bridge

[literally, a “zig-zag” bridge].”

55


Element 14


Sitting Area

(west of

Swimming

Pool),

including

Garden

Benches (2)

and Table;

Access

Bridges (2)

(to

Swimming

Pool)

Immediately west of the swimming

pool is a concreted area with two

garden benches (one short and one

long) and a table – all of masonry

construction. Separated from the

pool by the stream, two bridges,

probably of masonry construction,

link the sitting area to the

swimming pool.

The sitting area is an integral part of

the garden and was used for

relaxation. It may also have been

used by those visiting the site for

religious purposes.


“Facing the pool is an open area bounded by rockery, and

furnished with stone chairs and tables for use as a resting

place.”

Please note that it is unclear if the garden benches and table

are in their original locations.

56


Element 15


Lawn

View looking toward the east-facing

terraces.

View looking toward the eastern

slope.

Adjacent to the far end of the

swimming pool is a grass-covered

area nestled between the eastern

slope and east-facing terraces.

The path of the original stream

delineates the division between the

lawn and the east-facing terraces.

The lawn appears to be a recreation

area, although it may (also) have

been the location of a bamboo

forest.


“Going down a flight of steps there is a bamboo forest

[there is close affiliation between bamboo and Buddhism]

and a water pavilion [a Chinese pavilion built on the edge

of water], and a small pavilion sits over a ravine, across

which spans a red timber wandering bridge [literally, a

“zigzag” bridge].”

57


Element 16


16.Zigzag

Bridge

The zigzag bridge, most likely of

masonry construction, crosses the

lower part of the stream (before the

waterfalls), giving access from one

side to the other as well as

providing a linkage to the two-tier

lower pavilion.

The zigzag bridge, an important

landscape device in Chinese

gardens, links all the different

gardens together near the point the

stream becomes a waterfall.







“zig-zag” bridge].”

58


Element 17


Two-tiered

Water

Pavilion

The two-tiered water pavilion,

whose lower tier is partially set into

the slope, is of masonry

construction. Its polygonal upper

tier, which sits on a circular deck of

masonry construction, is accessible

from the gardens by means of the

zigzag bridge. Its lower tier, also

polygonal in shape, is reached by a

series of external steps from the

upper tier. (The floor of the upper

tier is covered with tiles arranged in

a simple geometric pattern; the

terrazzo floor of the lower tier

includes a stylized lotus.)

It is more than likely that this is the

water pavilion described in Ng

(1951:10). It is important not only

as a garden element, but as the

place where Clara Cheung had

poems and poetic couplets (written

by friends) inscribed.







“zig-zag” bridge].”

Reference from Cheng (1976: 39):

“When Mamma moved to the new house, the land around it

was still wild, and she had terraces built leading down to

the swimming pool and the waterfall, where she erected a

little pavilion. Here it was always cool, calm, and quiet,

except for the sound of the falling water. She was very fond

of this spot, and on the pillars of the pavilion installed

mouldings containing poems and poetic couplets written

for her by friends who were both good poets and

calligraphers.”

59


Element 18


Stream

(technically

outside the

property)

The stream, from which Ho Tung

Gardens takes its first name – “The

Falls”, effectively separates the

Mixed Buddhist Garden with its

adjacent recreation areas from the

east-facing vegetable terraces – and

the mansion with its south-facing

terraces. The upper part of the

stream is now contained within a

masonry channel.

The stream is significant. It was the

source of the original name for the

site – “The Falls” and it became a

major focus in the design of the

gardens – a feature that helps

denote the separate gardens and, at

the same time, a feature that helps

to unify them.

Reference from Cheng (1976: 37):

“The Falls had originally been given that name because a

mountain stream flowed nearby. In the rainy season there

actually was a waterfall there. Some of the water was used

to fill a swimming pool, and this was no doubt one of its

main attractions for my parents.”

60


Element 19


East-facing

Terraces

(west of

Stream)

A series of irregular, relatively

small terraces, almost certainly

corresponding to the original

terrain, descend from the east side

of the main house to the streambed.

Although it is unclear exactly how

the terraces were originally planted,

it seems clear that many of them, if

not all of them, were planted with

vegetables under the guidance of

Clara Cheung. Fruit trees were

planted in the terraces as well, but

their exact location is hard to

determine, i.e. were they planted

throughout the terraces, in selected

terrace areas and/or immediately

outside the terraces.

Flowers were grown, but seeds

were sown in boxes, transplanted to

trays and ultimately placed in plant

pots. (Gittens 1969: 99)


“Much of my time was spent in helping Mother (Clara

Cheung) with planning the garden. She was still developing

the site, trying to place as much of the virgin scrubland as

possible under cultivation. She was very anxious to grow

fruit trees, which we ordered from Canton: peaches, pears,

apricots and tangerines. Terrace after terrace was reclaimed

to take vegetable beds all the way down the slope towards

the swimming pool. When these were built, she started on

the side overlooking the sea until it seemed as though we

were trying to reach down to Aberdeen. We studied the

seed catalogues from Suttons in England, from whom we

ordered most of her seeds.”


“Robbie [Ho Shai-lai, the second son of Ho Tung, and

Clara Cheung, who became a general in the Kuomintang

army] and I spent the next morning in the garden. It still

bore evidence of the damage sustained as a result of the

war… but Robbie had been at great pains to restore the

61



general atmosphere to its former elegance. He had planted

new fruit trees from Canton, and was nursing a few rose

bushes I had sent him from Queensland, as well as some of

the orchids which had survived.”

62


Element 20


South-facing

Terraces

(extending

directly south

from the main

house)

A series of relatively larger terraces,

almost certainly corresponding to

the original terrain, descend from

the south side of the main house.

The upper terrace, rectangular in

shape and currently grass-covered,

extends directly from the main

house at ground level.

The terraces are an integral part of

the site, directly tied to the main

house and related visually to the

other gardens. Although the

terrace walls have been reinforced

(slope reinforcement), the results

are not aesthetically pleasing.


“When these (the east-facing terraces) were built, she

(Lady Ho Tung) started on the side overlooking the sea

until it seemed as though we were trying to reach down to

Aberdeen.” (Note: Careful reading of the paragraph

containing this quote suggests that the south-facing terraces

may also have been planted with vegetables and possibly

fruit trees. (See East-facing Terraces for more information.)

63



This terrace is best described as a

viewing terrace and it includes a

viewing pavilion at the southwest

corner and a handsome perimeter

balustrade inset with glazed terra

cotta grills.

The steep terraces below, generally

irregular in shape and partially

concreted, were likely planted with

vegetables and possibly fruit trees.

The terraces are only nominally on

axis with the north-south axis of the

main house as they splay to the east

on their western side.

64


Element 21


Viewing

Pavilion

The viewing pavilion, of masonry

construction with a low balustrade

inset with glazed terra cotta grills

and a roof covered in glazed terra

cotta tiles, sits at the southwest

corner of the upper terrace. (A

nominal frieze is inset with glazed

terra cotta grills; the floor is paved

with tiles arranged in a geometric

pattern.)

The pavilion is clearly a viewing

pavilion, sited to take advantage of

the multiple views to the southeast,

south and southwest. As such, it is

a landscape element of considerable

importance.







“zig-zag” bridge].” The “small pavilion” could well be

the viewing pavilion.”

65


Pathways

and Steps

A number of pathways and series

of steps, most of which are

concreted, are found throughout

the gardens.

The pathways and stairways link

the other elements of the garden

and, in particular, provide

directional clues for moving

through all the garden areas,

including the Mixed Buddhist

Garden.

No reference available to date.

66


Element 22


67

6.0 Appraisal of the Significance of the Mansion and Gardens

By Lee Ho Yin and Lynne D. DiStefano

6.1 Appraisal of the Significance of the Mansion

The appraisal is based on the criteria for the grading of Historic Buildings carried out by

the Antiquities and Monuments Office and Antiquities Advisory Board.

(a) Historical Interest of the Architecture

The mansion of Ho Tung Gardens is historically significant on two counts. First, it is

the first piece of property developed, owned and lived in by a Chinese, who was

hitherto forbidden to build on the European-exclusive Peak District under the Peak

District Reservation Ordinance, 1904 and the Peak District (Residence) Ordinance

1918. Second, it is the first building in the Peak District whose architecture does not

conform to the "European house" tradition established in the Peak District via the

European District Reservation Ordinance, 1888. Most significantly, the mansion was

the first building in the Peak District that was designed with a conspicuous Chinese

aesthetic character consistent with Chinese Renaissance architecture as developed in

China at this time.

(b) Rarity of the Architecture

While Chinese Renaissance architecture became a popular trend in Hong Kong before

World War II, residential buildings in the manner were uncommon. There are

probably two reasons for this. First, the aesthetics seems to have been used mainly for

institutional buildings, and, second, local upper-class Chinese seemed to prefer

Western-style houses. Postwar development has reduced the already small number of

such residential buildings to an even smaller number, thus making every extant example

a rare specimen worthy of conservation.

(c) Significant Architectural Merit

The significant architectural merit of the mansion of Ho Tung Garden is as an early

example of Chinese Renaissance architecture in Hong Kong. In fact, it appears to be

the earliest surviving example – of any building type – of Chinese Renaissance


68

architecture in Hong Kong. It is also dated to an earlier time than many of the

examples found in Mainland China.

(d) Group Value of Comparable Extant Examples

Known extant examples of the residential type of Chinese Renaissance architecture in

Hong Kong are:

Ho Tung Gardens (何東花園), completed in 1927, a Proposed Monument) (Fig.

2.26)

Haw Par Mansion (虎豹別墅, completed in 1935, a Grade I Historic Building)

(Fig. 2.27)

King Yin Lei (景賢里, completed in 1937, a Declared Monument) (Fig. 2.28)

buildings in Dragon Garden (龍圃, completed from the 1950s to the 1960s, the

buildings and garden are collectively Grade II Historic Buildings) (Fig.

2.29)

These residential buildings, built from the 1920s to the 1960s, are a diminishing record

of the evolutionary development of Chinese Renaissance architecture in Hong Kong.

Clustering these places may present an opportunity for a group heritage designation

under the theme of Chinese Renaissance architecture, which will certainly be the first

designation of its kind and a breakthrough in the field of heritage conservation in Hong

Kong.

When considered as a group, the mansion of Ho Tung Gardens reveals another

important value – it is the only mansion among the four that is built within the pre-war

European-exclusive Peak District.


Figs. 2.26 and 2.27 (from left to right) Ho Tung Gardens (source: Development Bureau); Tiger Balm

Garden (source: from a vintage postcard).

Figs. 2.28 and 2.29 (from left to right) King Yin Lei (source: Development Bureau); Dragon Garden

(Apple Daily).

(e) Authenticity of the Architecture

As this study shows, the greatest value of the mansion lies in the socio-political

meaning behind its aesthetic character. As such, the authenticity of the building is not

measured in terms of how much it has been altered and modified, but in terms of

whether the alterations and modifications have maintained the overall aesthetic

character of Chinese Renaissance architecture.

As far as the external appearance of the building is concerned, the architecture has

maintained its authenticity in terms of the Chinese Renaissance aesthetic character

despite alterations and modifications. This is evident in the rebuilt portion of the

building that was damaged during World War II, and in the addition of the lift core, in

69


70

which the same aesthetic character was applied to the exposed lift machine room on the

roof.

While the interior has undergone extensive alterations and modifications, these have

been applied only in terms of finishes and partitioning, and the structure of the building,

which is essential in maintaining the external form of the architecture, remains

unaltered.

(f) Social Value and Local Interest of the Architecture

Robert Ho Tung's choice of a conspicuous Chinese aesthetic character for the mansion

was deliberate – it was a decision to challenge and subvert the statutory discrimination

against Hong Kong's Chinese community by the Colonial authorities and the socially

advantaged European community. This means that the mansion is a tangible

expression of Robert Ho Tung's identification with his Chinese heritage and his

affiliation with the Chinese community. As such, the mansion is a significant and

unique monument to the struggle of the disadvantaged early Hong Kong Chinese

community for cultural dignity, legal rights and social equity, all of which are universal

values to which today's Hongkongers of all ethnic backgrounds can collectively relate.

In Singapore, one of the criteria for designating a National Monument is by its social

value, which is defined as "the qualities for which a building has become a focus for

spiritual, political or national cultural sentiment for the nation as whole or for a social

group." 4 This definition fits well with the social value of the mansion, which

possesses the qualities to become a focus for the cultural sentiment for Hong Kong as a

whole, particularly for the Hong Kong Chinese social group. As such, it can be argued

that the mansion qualifies as an architectural heritage significant to the historical

development and cultural identity of Hong Kong, and it should be considered for

appropriate protection.

6.2 Appraisal of the Significance of the Gardens

The appraisal builds on the criteria for the grading of Historic Buildings carried out by

the Antiquities and Monuments Office and Antiquities Advisory Board, with focus on

the significance associated with Clara Cheung (Lady Ho Tung).

4 See: Hong Kong Legislative Council Secretariat 2008: 8.


71

(a) Relationship between the Gardens and the Mansion

The gardens are more than a series of Character-defining Elements (CDEs). As

mentioned previously, they are a major component of the place and inseparable from the

mansion and its carefully “staged” scenic viewpoints. And, clearly, as the mansion

reflects both Chinese and Western elements (typical of the Chinese Renaissance

movement), the gardens combine individual Chinese elements within a Western setting.

The connection between the gardens and the mansion is such that it is important to

repeat part of the Introduction (Section 1.0):

The mansion is set within distinctive gardens, and the gardens themselves are an

integral part of the place. They are more than an element; they are a major

component of the place and inseparable from the mansion and its carefully

“staged” scenic viewpoints. Focusing on the mansion alone, rather than the

mansion within its garden setting, negates the original design intent: the creation

of a mansion within a garden setting, a mansion that is carefully positioned to

exploit dramatic views to the south.

(b) Relationship between the Gardens and Clara Cheung

Perhaps even more important than the overall character of the gardens is to the thinking

behind the gardens - what informed their planning. Clara Cheung was responsible for

the gardens, including their planning, and her influence was fourfold. As a devout

Buddhist, she created a meditation garden – what can be called a Pure Land Garden,

which she shared with the public. As a caring matriarch, she provided spaces for

outdoors recreation for her extended family and presumably their friends. As an avid

and accomplished gardener, she created standard-setting ornamental and vegetable

gardens.

And, finally, from what can be gleaned from written accounts, Clara Cheung, as a

connoisseur of fine things, sought beauty and serenity in her surroundings. Ho Tung

Gardens, as a whole, expresses this search. Sadly, the interior of the mansion, as Clara

Cheung lived in it, no longer exists. But, the mansion (its exterior), the gardens and

the views remain – a testament to one of Hong Kong’s most important women.


72

6.3 Appraisal of the Significance of Ho Tung Gardens as a Whole: Educational

Value

This last appraisal brings us back to the beginning of the study (Section 2.1), in which a

fundamental question was raised by Article 67 of Conservation Principles, Policies and

Guidance for the Sustainable Management of the Historic Environment (English

Heritage 2008: 36): "whether a place might be so valued in the future that it should be

protected now." In direct layman's terms, "Why should we care about conserving Ho

Tung Gardens?" The reason is that the place provides a tangible educational platform

for future generations to learn about such social aspirations as national identity and

cultural identity, as well as such universal social values as cultural dignity, legal rights

and social equity, all of which are crucial ingredients for the harmonious society that

China is striving to become.


73

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